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MUSIC FROM THE OTHER SIDE

by Sandy Frazier

JACO - From the Great Beyond

The following is the amazing story of one experience we had communicating with a musician on "the other side." I include herewith passages from actual transcripts of trance channeling sessions conducted through my mother, Elizabeth Baron, over the years.

Sometime in September 1991 the Light fell down upon me. It was the spirit of Jaco Pastorius, "the greatest bass player in the world." I realized, standing among those who knew him, that he was a spirit guide to us all. He chose when to make contact and all the talk began soon after my husband had seen him for the first time in our home in South Carolina.

Geri Palladino, Jaco's good friend (in his life and afterlife, through her own meditations and personal experiences), is the one who has always reminded us how important the transcripts of our communications with Jaco are. I hadn't seen his spirit myself, but the messages that were coming through from him were too personal and real to ignore. However, I had my own brushes with his visitations. At one point, I swore Jaco had come to me in the night. He called me "sweetheart." So I called Geri to ask her if he casually used that word very often. She told me he had a line - "Hey, sweetheart, who loves ya?" that he said all the time. He scared me. I thought I saw him. I knew I'd dreamed about him.

When my mother went into trance to tune in to his spirit, giving herself over completely was not possible; Jaco's pain was too big. He had scads of issues left unresolved - unfinished business never to be taken care of - and so his spirit could not go on into the light... that is, until he returned as a ghost. Here is our story:

* * *

Back in 1988, a friend of mine from Texas (with whom I had been corresponding since my move to Charleston) sent me an article on the late, Master-bassist extraordinaire, Jaco Pastorius, along with a cassette tape of Jaco playing with Joni Mitchell, Chalkmark in a Rain Storm... and several songs like 3 Views of a Secret, Liberty City and the haunting A Remark You Made. I was pretty closed-minded when it came to fusion and some types of jazz so I didn't really listen to the tape and I didn't read the article; instead I put it away in a file. I had no idea the significance these things would have in my future.

Labor Day of 1990, I had a party at my apartment in Charleston. My mother had invited a new member of her meditation group. He worked as a private investigator for a mutual friend who owned a detective agency. She introduced us but I was completely absorbed in being a hostess and in trying to make sure my violent boyfriend didn't make a scene and embarrass me. Soon people had trickled out and the man my mother had invited remained. All they had told me about him was that he was a bass player. Trying to make conversation, I pulled out the Jaco tape and started playing it and so we started to talk about Jaco. I was trying to act like I was well-informed on the subject of jazz, even though I have to admit, I wasn't. That was my first conversation with Flavio the first time we met - at least that I remembered.

I had decided to put a band together to perform all my original music; I had designed a show which was to appear at the gallery opening of my art work. It was to be my premiere event in Charleston. So Flavio coming along right then was good timing. I needed a bassist and he told our mutual friend he was amazed to find a female songwriter that actually wrote intelligent lyrics and music that posed a challenge (he was a bit chauvinistic about women).

From that Labor Day through November, we played music with our band until it had all but crumbled... but Flavio and I continued our relationship. We got closer and closer and Flavio soon discovered my intense desire to go to New York City. I had always wanted to go, but never had the opportunity. Flavio was from New York and so he decided to take me there for my first trip at the end of November. We arrived in New York as the sun rose. I had to take it all in with awe. The skyline was incredible. The Billie Holiday in me cried with sadness and relief all at once, a feeling I can't explain - at coming home after all of a lifetime away from the city, longing to return. I knew these circumstances could only have been planned by God. I loved New York and didn't want to go back to Charleston. It felt like something I had lost and sought desperately to find.

Flavio hated New York and told me he didn't want to live there. I told him we could never be together, then, that it must not be meant to be because I will surely end up in New York one day. All the way home from the city, we joked that Jaco's ghost had come home with us in Flavio's bass case. He had been a bassist since high school and even during his years with the Silent Service (Navy), he continued practicing daily and working at his technique. Our trip to New York inspired him to start over - from square one - scales. We started making plans together to one day move to New York to play our music and record an album.

Flavio started playing A Remark You Made, Jaco's song, over and over. It became "our song." He also played Amerika non-stop, day in and day out. These were Jaco's themes and I told him I thought he was obsessed with Jaco, but it wasn't like that. He played Jaco's music and wrote some of his own really haunting instrumental pieces. Then one day he built a fretless bass guitar like Jaco's.

By the first of January 1991 Flavio and I were living together and I had assumed the role of mother and wife. We would lay down together and try to send messages back and forth by mental telepathy; we meditated together and, of course, my mother's influence on our spiritual lives was quite strong. We started rearranging and re-recording my songs and then wrote our first song together, Silence is the Healer, which we believe that Jaco communicated to us from the afterlife. We wrote the song during the Gulf War. We would practice in the loft above the art gallery and other musicians came and went; but we knew we had a great spiritual connection and continued to bond with our music. At the same time, we lived in fear that Flavio would be called up on reservist activity (he was just out of the Navy). I painted a portrait of Jaco and also one of Flavio playing his bass, possessed by Jaco.

Around the first of March, Flavio was upstairs in our studio playing his new (Jaco-style) bass when all of a sudden, he came running down the stairs and into the bedroom where I was reading. He was white as a ghost and told me he had seen Jaco's spirit. I felt that he had been summoning Jaco with Amerika and the Fender jazz bass he had built that sounded like Jaco's old bass. Flavio had seen Jaco perform in New York before his death and I remembered the first conversation we had ever had was about Jaco. In New York, in the Village, we had felt Jaco's presence and he'd been playing his songs.

In passing, I mentioned to my mother that Flavio had seen Jaco's spirit and asked her if she might come over and scope out the place to see if she could pick up anything. She was famous for doing exorcisms all over the Charleston area and it could be interesting and intriguing to find out if indeed Jaco's spirit really had come to visit.

March 2, 1991 eight people gathered for the first trance session at our home in Summerville. The things Jaco said through my mother indicated anything but that he was a lost soul. He said he had learned much since his demise and now wants to play through someone. The paintings - one of Jaco, the other of Flavio - were placed above my mother on the fireplace mantelpiece. It was an awesome experience and I was convinced that Jaco was there speaking through her. Jaco said, "Since I have met the Master, He has taught me to love and forgive and, therefore, I have no malice toward anyone."

My mother said his purpose for coming to us was to play through Flavio's bass and write lyrics through me - a kind of music that he had been attempting to create prior to his untimely death. This music is a cross between rock and roll and jazz. It began to make a lot of sense when he told us this because I have written and played mostly rock music and Flavio was more into jazz.

Three days later, my mother was sitting in her office doing a phone reading for a man in London who was the manager of a new group. She asked him if he had known Jaco and he said, "It's really strange that you would ask me if I knew Jaco Pastorius because I was getting ready to manage him just before he was killed!" He was so excited and asked my mother what else Jaco had communicated to her. She told him Jaco stated, "If you get your teeth knocked out and you're left for dead, your soul lives on." He was flabbergasted and said, "Elizabeth, he was killed by a karate chop in the mouth and head! He then went into a coma and later died" which she had been unaware of.

In trance, St. Catherine (my mother's spirit guide) began:

"This individual is very disappointed because a new kind of music was being discovered - something between rock and roll and jazz - a new wave of music. This person was taken out into the spirit realm before he was able to finish his total discovery. He was on a wavelength that, if he had continued, would be something that would have been so popular and so important in the music field. And there were three men who were working with him and were to discover this new type of music. It's important to know that you have all come together to continue this and you will not play rock and roll music, nor will you play jazz; but you will play an in-between style. And you will be led to do this. If you will let your spirits lead you and let this individual be around you to influence you, your music will be tremendously good - exceptionally good - and this person will lead you to a place near Fifth Avenue [this was an area near the homes of Rita Guzman, Valerie - our mutual friend, and Jaco's drummer] and into the other parts of New York that you need to go. And there will be six people who come together and play this kind of music. It will be something that you will have to be very dedicated to because there will be a great deal of travelling. But you should not worry about your children, for your mother will care for the children when it is necessary to be travelling around...."

In this first transcript, it goes on to tell us more about the music we were to create, and the ever-present message that some of Jaco's music was stolen. What few people know about the facts surrounding his death was that the plug was pulled too soon. "There was much more to this person's death than what has been noted in the news." And he spoke to his mother that "he is sorry for the pain that he caused. There was real hatred for the father that needs to also be cleared up... It is important to contact friends of the past who are into music." He warned us not to be envious, jealous or possessive in friendships and relationships.

As the trance session went on, St. Catherine moved aside and Jaco, himself, starting speaking...

"It is with great pride that I work with you in the future. Do not try to end this relationship too soon between you and me because there is much work that is unfinished that needs to be finished up in your lifetime. Pain of going through life in unhappy ways does not have to be for peace of mind. And happiness can be found in music - especially in playing well. There are three things that I request of you: 1. Be honest with those around you; 2. It is important to play with all your heart and soul into that piece of music. Play as if there is no tomorrow. Play from your heart; 3. Do not stop until you have reached a level where you are totally happy with yourself and with your success. The pathway is not easy. It is very difficult. However, you will be given many opportunities because I, and others that you have heard about before who have been successful in beginning their careers here on earth but are now in the spirit realm, will be beside you. There are many out there who wish to help you at this time. Open your hearts and your minds to this help and everything will be okay. It is with pleasure; it is a great pleasure to play music, for it is life itself that dwells in me. I ask for you to pray for me and thank you for giving me the peace of mind in knowing that this music will be discovered.... Peace be with you always."

When asked if he had anything to say to his parents, he stated:

"The pain of loss has been great on both parts and the pain for me has been in the fact that I have not been able to convey my thoughts and my feelings to them. There was so much that we talked about doing and being and it was not my wish to go to the other dimension at that time. I have tried in many, many ways to communicate, but to no avail. We will be in touch again as my strength grows in this house if you will allow me to be here. There is no revenge. There is no reason. The life of a musician is his music - nothing else - no hatred, no regrets. Do not stir up old wounds or old problems, for Master says that 'Vengeance is mine. I will repay.' It is not up to us to do this."

And the music:

"The most important thing at this time is to continue listening to the music that is in your head..."

He went on to give advice on how to listen for the music in our heads, encouragement in growing as musicians... And he informed us he would be asking for several favors in the future. Jaco came through my mother (who knows nothing about musical technique) and gave her detailed ideas and suggestions about musical technique as well as advising others who were at the session. He spoke as Jaco would have - with the greatest respect and humility to the God of Music. He said:

"The great ones that have played musical instruments are not necessarily those who have made a name for themselves. There are many people in the back streets of New York and all over the country who are great, great musicians.... God and find those people who will be humble before their instruments and you will make a great team in doing this.... There has been much unfinished business that I have not been able to take care of and I have been in many places trying to reach out for someone who is humble enough with his own instrument to continue this work that I have not been able to do. Therefore, even though it is a risk sometimes to try to get someone's attention and it is even harder to manifest your own person. But in this home, the energies are high due to talent. Sometimes it is misdirected in anger. You can use that energy to manifest at times. I prefer to manifest in the musical instrument itself through conveying my feelings into your instrument."

Jaco said that he had been communicating with Flavio through music and that he had even been teaching him things that he never knew before. He said that he was able to see Lynyrd Skynyrd, Cass Elliot and Ricky Nelson who wished to "convey some of his own talent". He said he didn't want to reincarnate because he would not be able to finish his work. He gave a time period of three years in which he would be working intensely at every opportunity afforded him.

We asked about other things, like what it was like in the afterlife:

"I can see a lighted way that has a bright light on either side of a golden street and there are many walking on this street. This is the fourth dimension. There are higher places to go that I have not attained; but I have been able to bring the Master down to me for I cannot yet totally reach up to Him. We are on the third dimension. You are on the third dimension. We are on the fourth dimension. I wish to attain the seventh dimension. It is the level that I will go as I keep reaching up and helping others to attain their desires; I can get to that dimension. The highest dimension is eternity. There are seven times seven times seven times seven. There are many realms and each are in dimensions of seven. But few of us ever attain the highest."

At the second trance session, two weeks later, we attempted to communicate with Jaco again, but it was not very clear since my mother's energies had been drained from working on other cases. However, two months later, she was led to contact one of her clients in New York City where Jaco had lived and played. This lady told her that she would introduce my mother to one of Jaco's very close friends. We faxed her transcripts of Jaco's communications with us to date. She was amazed at how accurate the information was. He had asked us to get in touch with his drummer, so she immediately contacted him in California. The lady also put my mother in touch with Jaco's guitarist in New York City who just happened to be visiting from Japan (where Jaco is very popular).

He told us that both Elvis Presley and John Lennon have reincarnated already and neither of them wished to be musicians again in their new lives. St. Catherine of Siena, the spirit go-between, said that Jaco was a Roman Catholic and walks the same path as Flavio, not to mention that he is a bassist.

My mother believes that even though your body may be destroyed, the soul is the spirit of man. It can communicate, it can feel and it can love and even hate. But most of all, if we work on this side of life to develop our talents such as art, music, etc., those talents live on and continue to grow in the spirit realm and even though we may not have a physical body to express ourselves with, if we believe in God and think positive, our expressions live on and we will be able to inspire others to be the best they can be in their chosen field.

A friend in New York said her husband had managed Jaco for a period, but that she and a lot of her friends knew Jaco and had wanted desperately to communicate with him for years since his death. My mother told her Jaco was here and had been communicating through her and writing music through me and Flavio. They wanted to see the transcripts and hear the music right away.

Flavio and I, with all of our disagreements, always came back to a common ground - we were both so sick of the commercial music of the mainstream. We really had the desire to create this new music and allow Jaco to come through. He was the pioneer and now we've got the advantage - we're alive. A lady from the local jazz station came for a reading and my mother told her about Jaco coming down. The lady said the same thing we said - he's welcome to haunt the station any time. Like Field of Dreams, we have to build it so he'll come and then ask him to appear to us and he'll come by candlelight.

On May 12, 1991, my mother again attempted to bring Jaco through. She didn't have enough energy to let him come through completely. But she spoke to him and we asked him questions through her. He began in his usual way (he loved basketball):

"Let's play ball!"

He told us his purpose was to build our confidence and create this new music. He said he was not there to guide us on a spiritual basis. He said that we would not have to go to his family members and friends, they would eventually come to us (which they have - one by one). He wasn't sure how he would be communicating with the public again, but said that he would. He said to be sure to document it all, that later it would be very important. He told us to contact Valerie in New York. Then he told us we would be moving to New York by the end of October. He advised us that there was a message for us in the film, Field of Dreams. He said we would do for him what the man who built the baseball field did for the ball player. He said if we listen, he'd put ideas into our heads.

Flavio and I continued struggling over Silence is the Healer and Flavio kept running down from the studio each night white as a ghost, scared to return. In the meantime, we faxed the transcripts we had already experienced to Valerie in New York and some of Jaco's old friends. They were flabbergasted and cried. Some of them had been to other mediums and all said it was surely him. One of his friends, Geri, had actually been to a medium while Jaco was in the coma to try to communicate with him. It seems they all really loved him. He had a lot of women friends. They all wanted to know if he was okay.

Then suddenly I felt his pain. Then I felt their pain. It was as if I had been there. I knew that feeling well. Even his girlfriend of twelve years heard and read it all. My mother played the tape of Silence is the Healer. They said they were happy that we were open channels to Jaco.

21 May was the next trance session in which St. Catherine of Siena served as our go-between to allow Jaco to come through and give us messages. It appeared that Jaco was not yet strong enough to come through completely. We, nonetheless, asked about Jaco's friends and associates in New York - Rita, Valerie, H.... and others. The messages poured forth, mainly about Rita who we found we could trust a great deal; but warned that there are people around her that are using her and that she needs to stay away from. [This message was to be the most significant where Rita is concerned, yet none of us had ever met her... yet.] My mother told us that some of my music had been Jaco-inspired and that Ricky Nelson is also working with Jaco and us. This is the session in which we were informed about Elvis and Mozart. Elvis had reincarnated seven years prior and Mozart died of exhaustion. She said Jaco will go on, but...

"...he will stay with you as long as you need him and as long as God will allow him to be there. He will stay there until he sees you succeed more than he has succeeded, for he feels that the two of you coming together - and he would not be interested in coming to one of you individually - but he feels that through helping the both of you, that he is also helping your children to have a good mother and a good father. He feels that he can inspire you so that you will not make the same mistakes that he made, for he neglected his own family in order to do his own thing in many ways."

She said he wanted to make things up to his family by working through us and inspiring us to do the right things. He regretted the time he wasted on addictions. We found that one of his big missions is to inspire us, as well as his friends in New York, to live the right way as well as to help us all fulfill our own purposes in life. Then Jaco asked us to promise to give a small portion of royalties to his two small children in exchange for his help.

There were various messages about Geri (an old friend), advice to H.... (the guitarist he worked with), K.... (his drummer) and a few words about the coming biography. Billie Holiday's reincarnation was discussed in this session also; as well as her purpose here and in the afterlife.

In July, Rita (one of Jaco's friends) flew down from New York to South Carolina to meet us. She wanted to see firsthand what was going on and witness a trance session. We decided to do it in the room in which Jaco had first appeared to Flavio. Flavio was getting more and more creative and was writing music on his bass; and the lyrics and music flowed from me - from some unknown realm. Most important of all, we were planning our wedding.

Rita arrived and began to show us videos and play tapes of Jaco and tell us stories validating some of the things he had been telling us from the afterlife. It all had seemed like a dream until she arrived to tell us the facts as they had actually occurred. Rita was the one person Jaco felt he could really and truly trust and we could understand why. She was his friend and he, from the Great Beyond, was determined to speak with her. Flavio went to pick Rita up at the airport. She's a Chinese Aquarian who had been married to the big producer, Pato Guzman (of great films such as Enemies: A Love Story, An Unmarried Woman, Moscow on the Hudson, - to name a few). Pato had recently died and Rita seemed quite disoriented when she arrived in Charleston (we weren't aware of the reasons). But she was a very eccentric personality and we were all taken by her charm, wisdom and unusual quirks. She brought Flavio an herbal expectorant from Hong Kong and Baoding Iron Hollow Balls for health. Marguerita Chan - to all of us "normal" people, she was a real trip!

Rita showed us all videos of Jaco in Japan - Jaco playing in war paint and literally donating the clothes off his back to the needy. He was wasted, but his playing was breathtaking. Rita answered everyone's questions about Jaco; at the same time, she seemed like she was in great pain. At 45, she still looked youthful, but we detected an unmistakable disturbance about her.

We then knew the truth of Jaco's genius. I felt his pain as all my friends gathered around in the darkness of our studio by candlelight to look on as my mother fell in trance to allow Jaco's anger to burst forth. It shocked us all. He cried that his music had been stolen. I knew that the evening he died, when his fingers were run over, he must have known then that he would not live long. I felt like I had been there.

In the darkness, Rita's face glowed with the candle-flickering like a tragic lost child you see in Life magazine - little Chinese soul. Jaco wants to set the record straight. He fuels us. We built (the energies) and he did come. And the spirits are rallying around. He must have known Rita would understand. Flavio's bass echoed from the studio throughout the whole house. I joined him to finish another song. I was working on a new song called Moments while without knowing of mine, Rita had been working on a poem also called Moments. I needed to talk to her, listen to Jaco's words and music. I needed to paint him...and her. She told us she had been working on ideas for a documentary on Jaco with an Academy Award-winning documentary director. She gave me a copy of the same article my friend in Texas had sent me back in 1988 (the one I had tossed into a file). It all started to connect!

We listened to a tape Jaco did in studio from June of 1987 (right before he died). He was wasted and his mood swings were obvious. It was very revealing - just as I had suspected he'd be. Jaco's outburst through my mother the evening before (July 27) - his intense anger was similar to that on this recording. "Never hit a child or a woman," he rambled, "Music is the only thing that's keeping this world on track."

The trance session went something like this:

Elizabeth Baron: " I give you permission to take over my mind, my body, my spirit....... [cries] somebody tried to... there was some music, three pieces of music that were stolen... [cries hysterically, pounding on floor] I worked so hard for!!.... they were stolen! [cries hysterically]."

Howie Comen (mediator): "Who stole them?"

Elizabeth Baron/Jaco: "Shut up! Shut up! [screams wildly] [cries] Sandy! Call me out! Call me out!"

At that moment, I realized that my mother should not have allowed Jaco to come through completely yet. St. Catherine had not intercepted to protect my mother's body, so I said, "Mom, come out of it!" But she continued crying hysterically. I continued to call her out of the trance, along with Howie. "Mom, come back!" When she came out, she told us she had been on a trip. We revived her as we played Silence is the Healer. She held Flavio's (Jaco-styled) jazz bass and the music faded as she fell back in trance.

That evening a lot was revealed about how some of Jaco's music had been stolen. In Rita's presence, Jaco had felt more open and, in great frustration with his position no longer being on Earth (having lost his advantage), he knew that he had to find people here that he could depend upon to bring forth the truth about his work that he had loved so much that he had been forced to leave behind.

"...tremendous determination to express more, more, more of what he was capable of doing. He hadn't even touched the surface when he got this sickness that he couldn't function because he was drinking so heavily to drown out his Catholic vows that he made to one woman, but loved another woman, because she understood him.... he asks forgiveness for everything he has done on this earth. He asked God and God has forgiven him. He hasn't gotten totally rid of the anger and he wants to do that, but he had to express his feelings to you to understand. You have to understand how he feels, because you can't ever, ever, ever let that happen to you."

Jaco, through my mother, through St. Catherine, went on to warn Rita not to let people take advantage of her. He said he would go forward with three of us and thanked us for allowing him to come through and thanked Rita for being there. He told her he couldn't communicate with Pato... yet. He couldn't get near him because there had been illness there that hadn't been let go of. He told of videos, records, a documentary... He said he couldn't come through my mother's body because of his anger; it would hurt her and then went on to tell us that we of the earth can't understand, we can't imagine what it's like out there.

Suddenly she told us there was an orchestra conductor trying to come through. We asked if it was Leonard Bernstein. By the clues, it seemed that it was him. He, too, is a part of "the group (of souls)." She said there would be messages coming through me in the future and I would bring them forth.

Later when my mother went back in trance, St. Catherine stated:

"Anyone who appears on this earth who has already passed into the spirit realm has unfinished business that they need to take care of before they can go on and then there are those others who go on into the light and choose to come back to help and to grow with the permission of the Lord God. They inspire others. That does not mean that they are necessarily perfect, for there is One who is perfect. And it is important for you to know that these spirits are not harmful to you, for there is never a spirit that will come through my channel that will be harmful to you or anyone. For we will not allow that entity to come through. We protect our channel very, very strongly so that she can continue to be a clear channel for the spirit to use in so many ways. You have been around before when some spirits have not been allowed to come through, but it was necessary at this time for Jaco to be able to show his anger and let it go. There is still some anger there that he will express in time to come, but it is important for you - all of you - to know this so that you will be able to counterbalance all of that. For you must know this person inside and out before you can... and what he stood for."

Rita asked some questions about making the documentary and then for messages for some others in New York. But my mother's energy was drained at that point, so we postponed it until 29 July.

I wanted to paint Rita. As disconnected and eccentric as she appeared to be, there was a vulnerability I wanted to capture about her. I wondered about her. I felt like we were spiritually connected. Jaco jammed to Hendrix (Purple Haze) and the ever-present Amerika.

All night the next night I dreamed of Jaco. I woke up feeling as though I had fallen in love with him. He was trying to communicate his sexual energies to me. I felt like he had been right there with me as I slept.

Rita cooked for us all. She was a fabulous gourmet cook. Flavio and I continued preparing for our wedding which was all complicated by the Catholic initiations I had to go through. I thought Flavio should have told our priest Jaco's joke - "What do you call a Pollack with a $40,000 hat?" - "The Pope!" Ha! Ha! I wondered what the Father would think if he knew we were to leave his rectory and go to talk to the dead from another dimension through a medium. I thought he's probably putting us through hours of lecturing, approval, acceptance and paperwork for the sake of saving my poor ravaged soul.

That night, my mother had a hard time bringing Jaco through. Rita pulled on her energy (she had a way of doing that - it can be really exhausting just being around her). Jaco first mentioned the sexual energy. I couldn't believe it. It was my dream exactly! I felt embarrassed, like he had revealed something I couldn't tell anyone. Rita talked to Jaco. She sounded desperate. She really has some troubles, I thought. It must have been painful. Flavio and I sat quietly. Our big orange Garfield-like cat sat next to my mother the whole time. That night I really wanted to see and feel Jaco too - really bad - for the first time. It's like since he got close to me in my dream, I was not afraid any more. The trance was more even-tempered and informative. There were only five of us there.

"...He apologizes for the outburst and the expressions of pain, but he must rid himself of that in order to be able to get on with it. He feels that he has done a bit of that because of Rita's presence because she is such a healer. And letting him cry on her shoulder has been very helpful.... sexual energy is how he manifests himself in this room. It is through ectoplasm and the sexual ejaculation... that comes out that he uses that energy to manifest. He wants very badly to manifest and appear before you because somebody must have been asking for him to do that. And in New York, he will be able to do this even better as far as manifestations are concerned because he will be back where he belongs...."

He spoke a long time to Rita about people, places and things that she could relate to and Rita kept assuring him that she is there for him, too. I could have died because I didn't want to say anything about Jaco trying to communicate sexually and then she said that's exactly what he was saying! That's the energy they use to come through! Jaco had a lot to say to Rita and she asked many probing questions. But...

"The most important thing in his life now is to get a message of love and healing through his music, for he was not a healer before because he didn't know how to express himself. But by being over there, he has learned that the only thing that's important in the spirit realm is love..."

And he wanted to be sure that his two twins get their share of whatever is coming to them. This was the first session where Jaco's impish antics that had been such a big part of his earth-bound personality began surfacing.

Soon after, Rita returned to New York. Flavio and I were married on August 10th and moved our home and family to New York City a week later.

In the two years that followed (1991-1993) we met Jaco's friends and even some of his family members. We continued conducting trance sessions in memory of Jaco, dedicated to the healing of his soul. Geri, his good friend, and sometimes Rita hosted. I usually documented each of these sessions and people from all over - some who knew Jaco and some who didn't - came to witness this phenomenon. I receive calls all the time from various people who have come to these sessions. They tell me of the uncanny accuracy of Elizabeth's channeling and the great revelations and guidance, which is received from these sessions.

Geri, Jaco's long-time friend, and her daughter, Michelle, continue very actively meditating, praying and dedicating a lot of time to the healing of Jaco's spirit and his family. In many sessions, Jaco poured forth his appreciation to Geri for her sincere loyalty and dedication to his cause. Rita and her friend David are trying to assemble all the materials for the great documentary film on Jaco's life, which they are planning to produce. A book on Jaco's life is coming out any time now (we've anticipated its release for years). Jaco continues to lead and influence us - both in positive and negative ways. In fact, St. Catherine recently warned that we should caution ourselves not to allow Jaco's negativity to infiltrate our lives for he is still, in spirit, struggling with the disease (manic depression) which tore at his soul, his music and robbed him of his great mystic art and eventually his life.

Geri called me in May of 1995 with a new message from Jaco: "Everything is about to blossom. Elizabeth is seeing a field that has been harvested and the plants are green and they're bearing fruit and they're all about to be harvested. She sees a field as far as the eyes can see. There is some type of group consciousness here where everybody, everybody is involved - not just one person, but a number of people who are his friends." It was our Field of Dreams wish.

It is no coincidence that one of the agents we were led to for representation was once a student of Jaco's in Miami. In our meeting in Manhattan that day, I looked up at the ceiling and said quietly, "Thanks, Jaco."

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